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Journal articles on the topic 'Youth cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Changsong, Nam Wang, and Rohani Hashim. "How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s." GATR Global Journal of Business Social Sciences Review 2, no. 1 (2014): 54–67. http://dx.doi.org/10.35609/gjbssr.2014.2.1(7).

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Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the

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2

Scahill, Andrew. "Youth Culture in Global Cinema (review)." Velvet Light Trap 61, no. 1 (2008): 69–71. http://dx.doi.org/10.1353/vlt.2008.0012.

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Zvegintseva, Irina A. "Australian cinema: transforming youth issues over time." Journal of Flm Arts and Film Studies 11, no. 1 (2019): 100–108. http://dx.doi.org/10.17816/vgik111100-108.

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Long ago, Australian filmmakers discovered that it was the issues of universal interest that could ensure worldwide success of their films. One of such issues was the leftwing youth protests expressing the unwillingness of the young people to live according to the rules of the older generation. These protests peaked in the late 1960s and immediately found their way onto the screen. The importance of the problem ensured an almost inevitable international success of the films which dealt with those events. Yet there was another reason for the close attention paid by Australian filmmakers t

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Nakassis, Constantine V., and Melanie A. Dean. "Desire, Youth, and Realism in Tamil Cinema." Journal of Linguistic Anthropology 17, no. 1 (2007): 77–104. http://dx.doi.org/10.1525/jlin.2007.17.1.77.

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5

Farooq, Gowhar. "Lost spectacle: Media consumption by Kashmiri youth in the absence of cinema halls." Studies in South Asian Film & Media 11, no. 1 (2020): 147–61. http://dx.doi.org/10.1386/safm_00025_1.

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Hardline militants forced the cinema halls in Kashmir into closure in 1989. As heavy militarization ensued, several spaces, including cinema halls, were transformed into structures where people, especially young men, were detained and tortured by soldiers and militia. The generations born after the 1980s, therefore, grew up in a cinema-less, militarized world. In the absence of functional cinema halls, they, for years, relied on the state broadcaster for movies and media. Later – although under tremendous threat from extremists – a network of local cable TV operators, who functioned without li

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Zharikova, Vera Vasilyevna. "Crime Teenpic as a Subgenre of American Cinema." Journal of Flm Arts and Film Studies 6, no. 3 (2014): 104–13. http://dx.doi.org/10.17816/vgik63104-113.

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The article reviews film genres and the factors determining genre formation as exemplified by the subgenre of youth criminal drama. Like most genres, it appeared in the USA as an offshoot of the gangster film of the 1930s, on the one hand, and as a result of the emergence of youth subculture. The image of an adolescent criminal is still popular in both mass culture and auteur cinema.

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Zharikova, Vera V. "Representation of Youth in Soviet Cinema of the 1950s." Journal of Flm Arts and Film Studies 7, no. 3 (2015): 40–49. http://dx.doi.org/10.17816/vgik7340-49.

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The 1950s in the history of our cinema became a transitory stage from the grand style aesthetics to humanistic realism of the Thaw period. One of the most significant traits of this transition was the appearance of young characters on screen (school pupils, students) who were striving to fulfill themselves and find their own way in life. The article analyzes the images of the young people as they were represented in films of that period.

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Macedo, Jane Teixeira do Valle, and Suely dos Santos Silva. "O CINEMA BRASILEIRO E O PROTAGONISMO JUVENIL NA ESCOLA / BRAZILIAN CINEMA AND YOUTH PROTAGONISM AT SCHOOL." Brazilian Journal of Development 6, no. 10 (2020): 79138–50. http://dx.doi.org/10.34117/bjdv6n10-372.

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Killen, Andreas. "Psychiatry, Cinema, and Urban Youth in Early-Twentieth-Century Germany." Harvard Review of Psychiatry 14, no. 1 (2006): 38–43. http://dx.doi.org/10.1080/10673220500519672.

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10

CLAPP, JAMES A. "Growing Up Urban: The City, the Cinema, and American Youth." Journal of Popular Culture 40, no. 4 (2007): 601–29. http://dx.doi.org/10.1111/j.1540-5931.2007.00426.x.

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11

Yassni, Younes. "Youth and the Occupation of Public Space in Moroccan Cinema." Film International 16, no. 4 (2018): 28–36. http://dx.doi.org/10.1386/fiin.16.4.28_1.

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12

Richardson, Joshua. "Revolting Youth: Depictions of Young Culture in Japanese Horror Cinema." Film Matters 3, no. 3 (2012): 13–17. http://dx.doi.org/10.1386/fm.3.3.13_1.

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13

Guillory, Shaye. "Budget Sex: The Neglected Perspective of Youth in Contemporary Cinema." Film Matters 9, no. 2 (2018): 7–19. http://dx.doi.org/10.1386/fm.9.2.7_1.

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14

Macedo, Isabel. "Youth and portuguese cinema: the (de)colonisation of the imaginary?" Comunicação e Sociedade 29 (June 27, 2016): 291–309. http://dx.doi.org/10.17231/comsoc.29(2016).2421.

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The narratives constructed and disseminated over various decades about the colonial past have profoundly influenced the relations established between the Portuguese population and ‘immigrants’. The stereotypes conveyed are deeply embedded in the social memory of the Portuguese, influencing intercultural relations. In order to analyse the perceptions of young people about intercultural relations, we conducted focus groups with secondary school students involving the viewing of the film Li ké Terra (2010) and subsequent group discussion. In this article we present the results of the focus groups

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Budzik, Justyna Hanna. "Film Education in Cinemas – Determinants and Tendencies." Panoptikum, no. 18 (December 29, 2017): 157–76. http://dx.doi.org/10.26881/pan.2017.18.10.

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The article is an attempt at critical analysis of selected film education programmes addressed at school students by independent and network cinemas. The first part of the article is devoted to a survey of key determinants for Polish film academies’ educational profiles, largely determined by the contents of the Core Curriculum. Subsequently, four case studies are conducted: the New Horizons of Film Education programme operating in the Network of Studio and Local Cinemas, Młodzieżowa Akademia Filmowa [Youth Film Academy] at Amok cinema in Gliwice, the Interdisciplinary Programme of Media Educa

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Maina, Giovanna, Federico Zecca, Danielle Hipkins, and Catherine O’Rawe. "From Youth Icon to Scarlet Diva." Film Studies 22, no. 1 (2020): 47–64. http://dx.doi.org/10.7227/fs.22.0004.

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This article offers a reconstruction of the birth of Asia Argento’s star image, with specific reference to the Italian context. Through an analysis of the media discourses that circulated around the actress in the early phase of her career (from the end of the 1980s to the 2000s), we can trace the evolution of her star image from enfant prodige of Italian cinema, and youth icon, to that of the ‘anti-star’ who strongly divides public opinion, owing to her unruliness on and off-screen. The article concludes that her pre-existing association with sexual transgression inflected how her behaviour w

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Hebbar N., Nandini. "The unemployed hero in Indian Tamil cinema: Perspectives on youth, gender and aspiration." Studies in South Asian Film & Media 11, no. 1 (2020): 57–69. http://dx.doi.org/10.1386/safm_00019_1.

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In this article, I explore the portrayal of the information technology (IT) boom in Indian Tamil cinema to think through representations of unemployed youth. Three main questions anchor this article: one, what are the ways in which unemployment is problematized? Two, how are depictions of unemployment (and employment) gendered? How do gendered representations of unemployment feed into dominant tropes of language, given the Dravidian orientation of Tamil cinema? Three, how are these crises resolved, and what imaginaries do they present of relationships between men and women? Through a reading o

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Scahill, Andrew. "Fanfic’ing Film." Girlhood Studies 12, no. 1 (2019): 114–24. http://dx.doi.org/10.3167/ghs.2019.120110.

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Fairy Tales Film Festival 2018, Calgary Queer Arts Society, Youth Queer Media ProgramFor the study of youth in cinema, we, as scholars, must always remind ourselves that most images we analyze are created by adults representing youth, not by youth representing themselves. As such, they represent an idea of youth—a memory, a trauma, a wish. They are stories these adults tell themselves about what they need youth to be in that moment. Coming out becomes the singular narrative of queer youth, and positions adulthood as a safe and stable destination after escaping the traumatic space of adolescenc

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19

Hegarty, Kerry. "Youth culture on film: an analysis of post-1968 Mexican cinema." Studies in Hispanic Cinema 4, no. 3 (2007): 165–82. http://dx.doi.org/10.1386/shci.4.3.165_1.

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20

Murphy, Caryn. "Generation Multiplex: The Image of Youth in Contemporary American Cinema (review)." Velvet Light Trap 52, no. 1 (2003): 67–70. http://dx.doi.org/10.1353/vlt.2003.0019.

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21

Bahmad, Jamal. "From Casablanca to Casanegra: Neoliberal Globalization and Disaffected Youth in Moroccan Urban Cinema." Middle East Journal of Culture and Communication 6, no. 1 (2013): 15–35. http://dx.doi.org/10.1163/18739865-00503002.

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This article deals with the two major actors in North Africa’s 2011 uprisings—namely, youth and the city—through a critical exploration of the cinematic realism that has defined Moroccan filmmakers’ response to the country’s socioeconomic transformation under neoliberal globalization since the 1980s. Taking Noureddine Lakhmari’s Casanegra (2008) as a case study, I argue that this aesthetic frame discloses the critical potential of everyday life and the ordinary affects of anger and the will to revolt among Casablanca’s youth today. This acclaimed film further allows us to approach Moroccan cin

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22

Byg, Barton. "On the Wannseeheim Youth Center." New German Critique 47, no. 3 (2020): 93–98. http://dx.doi.org/10.1215/0094033x-8607619.

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Abstract Presented here for the first time in English translation is one of Harun Farocki’s earliest publications in the journal Filmkritik, of which he later became editor. Composed largely of quotations, Farocki’s text reports on film courses at the Wannseeheim Youth Center, a form of adult and alternative education in Berlin West. The introduction to Farocki’s text connects with the New German Cinema and themes that remained central throughout his own work: collaboration and quotation, Bertolt Brecht’s concept of “learning plays,” using nonfiction to explore both social relations and the ci

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RAZLOGOV, KIRILL E., and EVGENIA V. PARKHOMENKO. "METAMORPHOSES OF THE CINEMA CLUB MOVEMENT." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 241–71. http://dx.doi.org/10.30628/1994-9529-2021-17.2-241-271.

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The article is based on the studies by the Department for the Development and Approbation of Film Education Methods (VGIK) in the field of amateur film associations and cinema clubs. The authors profile the history of the Russian film club movement and analyze the significance of such associations for cultural enlightenment and comprehensive education of a personality. Such a survey is included in the international process of the formation of a cinephile community, who in the USSR were called nothing short of “kinomany” (movie addicts). A hundred years of experience of Russian film education,

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24

Centeno Martín, Marcos. "Introduction. The Misleading Discovery of Japanese National Cinema." Arts 7, no. 4 (2018): 87. http://dx.doi.org/10.3390/arts7040087.

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The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the world and its close links to local aesthetic and philosophical traditions. Recent approaches however, have evidenced the limitations of this paradigm of ‘national cinema’. Higson (1989) opened a critical discussion on the existing consumption, text and production-based approaches to this concept. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as

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25

Bahmad, Jamal. "Insurgent citizenship: Youth, political activism and citizen cinema in post-2011 Morocco." Journal of African Cinemas 11, no. 2 (2019): 131–40. http://dx.doi.org/10.1386/jac_00011_1.

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Abstract The uprisings that swept across North Africa and the Middle East in 2011 brought to world attention the revolutionary potential of youth in the face of social injustice and political repression. This article explores how the so-called Arab Spring foregrounded Moroccan youth's alternative conceptions of citizenship and being young in the MENA region today. Using the emergence of citizen cinema as a case study, I will examine the subjective politics of Moroccan youth's alternative to dominant political and social authority. Made, self-produced and distributed online free of charge by a

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26

Laura Podalsky. "The Young, the Damned, and the Restless: Youth in Contemporary Mexican Cinema." Framework: The Journal of Cinema and Media 49, no. 1 (2008): 144–60. http://dx.doi.org/10.1353/frm.0.0009.

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27

Bahmad, Jamal. "Rebels with a cause: youth, globalisation and postcolonial agency in Moroccan cinema." Journal of North African Studies 19, no. 3 (2014): 376–89. http://dx.doi.org/10.1080/13629387.2014.897619.

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28

DeGRAFFENREID, L. J. "What Can You Do in Your Dreams? Slasher Cinema as Youth Empowerment." Journal of Popular Culture 44, no. 5 (2011): 954–69. http://dx.doi.org/10.1111/j.1540-5931.2011.00882.x.

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29

Shary, Timothy. "Introduction." Boyhood Studies 8, no. 2 (2015): 1–4. http://dx.doi.org/10.3167/bhs.2015.080201.

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These are ripe times to study boyhood in cinema. Even though male characters have undoubtedly dominated cinema roles from the start, boys’ stories have not been consistently produced or appreciated. Since the publication of Where the Boys Are: Cinemas of Masculinity and Youth, a collection edited by Murray Pomerance and Frances Gateward in 2005, there has been increasing academic interest in boyhood representation through movies, as demonstrated by the articles collected here. This interest follows the expansive concerns of pop psychology texts at the turn of the century that took up the polit

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Dantas Junior, Hamilcar Silveira, Fábio Zoboli, Josineide de Amorim Santos, and Monara Santos Silva. "Pensar o corpo por meio do cinema: uma proposta pedagógica para o Ensino Médio." Revista Educação e Emancipação 11, no. 2 (2018): 108. http://dx.doi.org/10.18764/2358-4319.v11n2p108-126.

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Este ensaio parte do princípio de que o cinema é uma manifestação cultural que nos permite o olhar para o mundo e seus corpos e para nós mesmos enquanto corpo, para tanto, entendemos ser necessário estimular seu uso na escola como ferramenta pedagógica em contraponto à lógica corrente. No âmbito do Ensino Médio, com as exigências atuais do ENEM e as propostas dos Parâmetros Curriculares Nacionais, encontramos um espaço fecundo à ampliação desses olhares sobre o corpo e dinamização do processo formativo da juventude. Este ensaio objetiva apresentar as primeiras proposições de uso do cinema no E

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Belinskaya, Elena P., and Ekaterina A. Rudik. "ATTITUDES TO RADICALISM AND PREFERENCES OF FILM GENRES IN YOUTH." RSUH/RGGU Bulletin. Series Psychology. Pedagogics. Education, no. 4 (2020): 41–52. http://dx.doi.org/10.28995/2073-6398-2020-4-41-52.

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The results of an empirical study of the relationship between radical attitudes and consumer preferences in the field of film production in a sample of young people are presented in the article. Attitudes to radicalism were operationalized through indicators on the scales of relative deprivation, social dominance, and authoritarianism. Horror, melodrama, and arthouse films were considered the preferred film genres. One of the stages of the study was an attempt to determine the possibility of organized influence on radical attitudes through viewing movie trailers of preferred and non-preferred

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Layne, Priscilla. "Halbstarke and Rowdys: Consumerism, Youth Rebellion, and Gender in the Postwar Cinema of the Two Germanys." Central European History 53, no. 2 (2020): 432–52. http://dx.doi.org/10.1017/s0008938920000187.

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ABSTRACTIn the second half of the 1950s, American films about “delinquent youth” took West Germany by storm. Although these films were not screened in East Germany, the still open border between the FRG and GDR allowed young people in both states to see these films. Many adopted American clothing styles and music in both Germanys. Two films, the West German production Die Halbstarken (1956) and the East German production Berlin–Ecke Schönhauser (1957) addressed “delinquent youth” in the German context and became quite popular. The article compares the competing images of femininity in both fil

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Kuzina, N. "The Ideology of Violence in Culture and the Preconditions of Susceptibility to Violence in the Arts of Youth and Adolescents (Article 2)." Bulletin of Science and Practice 6, no. 11 (2020): 367–84. http://dx.doi.org/10.33619/2414-2948/60/46.

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The paper analyzes methods of building the ideology of violence and precedents of using the works of culture, in school and outside of school as its vehicle. The goal is to describe the images and motives of culture in terms of their possible impact on behavioral patterns and destructiveness (among adolescents and youth), to develop an algorithm for diagnosing the propensity to violence in adolescents and youth. A typological analysis of the content of the content is carried out, an algorithm is proposed for diagnosing the psychological state of adolescents and youth with socialization problem

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34

Hall, Sara F. "Youth protection and the prevention of juvenile delinquency." Journal of European Studies 39, no. 3 (2009): 353–70. http://dx.doi.org/10.1177/0047244109106687.

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The year 1926 marked the passage of Germany’s Law to Protect Youth from Worthless and Obscene Publications. In combination with the Reich Motion Picture Law of 1920, this legislation sought to shelter minors from the corrupting forces of cultural narrative and imagery. As the discourse surrounding these laws attests, the terms of Germany’s so-called ‘cinema debate’ were ambivalent, and discussions about films thematizing crime were especially complex. Whereas many detective and crime films were condemned for glorifying delinquency, brutalizing the senses and exposing youth to excessive details

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Zhou, Xuelin. "On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema." Sungkyun Journal of East Asian Studies 8, no. 2 (2008): 163–77. http://dx.doi.org/10.21866/esjeas.2008.8.2.003.

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36

Burgess, Thomas. "Cinema, Bell Bottoms, and Miniskirts: Struggles over Youth and Citizenship in Revolutionary Zanzibar." International Journal of African Historical Studies 35, no. 2/3 (2002): 287. http://dx.doi.org/10.2307/3097615.

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Мамич, Мирослава. "The Vulgarization of the Language of a Children’s Multiplication Text as a Psycholinguistic Problem." PSYCHOLINGUISTICS 26, no. 2 (2019): 260–77. http://dx.doi.org/10.31470/2309-1797-2019-26-2-260-277.

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Research aim is to identify the phenomena of verbal vulgarization of children’s cartoon discourse, to determine their functional-semantic loads and registers of reduced emotional evaluation, as well as the main socio-cultural types of corporate vulgar behavior. Research Methods. The study of the vulgarization of children’s media content was carried out with the help of: a) theoretical methods, b) psycholinguistic empirical methods – discourse-analysis of vulgarized dialogical situations; questionnaire related to the testing of registers of dialogical situations in cinema texts among the

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Vinogradna, O. "Motivation of viewing as a factor of youth perception of violence in films." Fundamental and applied researches in practice of leading scientific schools 27, no. 3 (2018): 117–22. http://dx.doi.org/10.33531/farplss.2018.3.14.

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The article examines the influence of motivation on the perception of film containing episodes of violence. As a result of the study, the motives for watching feature films with the content of violence, reflecting the direct emotional attractiveness of the depicted violence, are associated with an increase in the desire to become acquainted with the cinema production indicated, with its potentially dangerous perceptions. Results show that film violence perception relates to motives. For student youth, the main motives for viewing feature films with the content of violence are: curiosity

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D'Onofrio, Emanuele. "Italian Cinema Revisits the 1970s: Film music and youth identity in De Maria's Paz!" Music, Sound, and the Moving Image 1, no. 2 (2007): 161–86. http://dx.doi.org/10.3828/msmi.1.2.4.

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Janardhan, J., and C. M. Vinaya Kumar. "Impact of Globalisation on Telugu Cinema: Acceptance and Adoption of Changing Trends by Youth." Journal of Media & Mass Communication 1, no. 1 (2015): 97–100. http://dx.doi.org/10.12720/jmmc.1.2.97-100.

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Tilleczek, Kate, and Janet Loebach. "Research goes to the cinema: The veracity of videography with, for and by youth." Research in Comparative and International Education 10, no. 3 (2015): 354–66. http://dx.doi.org/10.1177/1745499915581084.

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Kearney, Peadar. "Screening Youth, Contemporary French and Francophone Cinema ed. by Romain Chareyron and Gilles Viennot." L'Esprit Créateur 60, no. 2 (2020): 152. http://dx.doi.org/10.1353/esp.2020.0019.

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Khalifé, Khadija. "Screening Youth: Contemporary French and Francophone Cinema ed. by Romain Chareyron and Gilles Viennot." French Review 93, no. 3 (2020): 235–36. http://dx.doi.org/10.1353/tfr.2020.0225.

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Sachs, Leon. "Screening Youth: Contemporary French and Francophone Cinema ed. by Romain Chareyon and Gilles Viennot." French Forum 45, no. 3 (2020): 367–69. http://dx.doi.org/10.1353/frf.2020.0028.

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Nesmeyanov, Evgeny, Yulia Petrova, Rupia Bachieva, and Olga Vasichkina. "The concept of value in modern youth subcultures of K-pop and Brony in the period of globalization." SHS Web of Conferences 72 (2019): 03025. http://dx.doi.org/10.1051/shsconf/20197203025.

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The relevance of the research topic is that global youth culture is an interdisciplinary category, with the help of which analysts try to understand the emergence of complex forms of cultural identity and hybridity, which can be found more often among young people around the world and that is directly related to the media (cinema, television, popular music, Internet). To use the analogy with K-pop and Brony youth subcultures, the authors show the similarities between two subcultures on specified grounds, where values define manners and norms of behavior, which are valuable in youth subcultures

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Vassilieva, Julia. "“Becoming-Girl” in the New Russian Cinema: Youth and Valeria Gai Germanika's Films and Television." Camera Obscura: Feminism, Culture, and Media Studies 29, no. 1 (2014): 59–79. http://dx.doi.org/10.1215/02705346-2408516.

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47

Weyl, Francisco. "I-MARGENS DE UM CARUANA ENTRE ESTÉTICAS DE GUERRILHAS." Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (2021): 96. http://dx.doi.org/10.18542/arteriais.v5i9.9819.

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ResumoEste artigo reflete questões artísticas, políticas, antropológicas e identitárias, que atravessam ações culturais em comunidades periféricas e quilombolas da Amazônia Paraense, sendo um recorte à pesquisa que desenvolvo no âmbito do Programa Doutoral em Artes Plásticas da Faculdade de Belas Artes da Universidade do Porto, tendo esta narrativa emergido das memórias de práxis transgressoras que caracterizaram resistências coletivas no cenário da arte contemporânea e da antropologia visual, particularmente nas experiências do Projeto Mola, junto a crianças, jovens e adultos em comunidades t

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Kleiner, Marcus S. "Populäre Medienkulturen. Programmatische Positionen : Popular media cultures. Programmatic positions." SPIEL 4, no. 1 (2019): 147–85. http://dx.doi.org/10.3726/spiel.2018.01.08.

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The article discusses the relationship between popular cultures, pop cultures and popular media cultures as transformative educational cultures. For this purpose, these three cultural formations are related to the themes of culture, everyday life, society, education, narration, experience and present. Apart from a few exceptions, such as in youth sociological works on cinema and education, in the context of media literacy discussions or in dealing with media education, educational dimensions of popular cultures and pop cultures have generally not been the focus of attention in media and cultur

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Kleiner, Marcus S. "Populäre Medienkulturen. Programmatische Positionen : Popular media cultures. Programmatic positions." SPIEL 4, no. 1 (2019): 147–85. http://dx.doi.org/10.3726/spiel.2019.01.08.

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The article discusses the relationship between popular cultures, pop cultures and popular media cultures as transformative educational cultures. For this purpose, these three cultural formations are related to the themes of culture, everyday life, society, education, narration, experience and present. Apart from a few exceptions, such as in youth sociological works on cinema and education, in the context of media literacy discussions or in dealing with media education, educational dimensions of popular cultures and pop cultures have generally not been the focus of attention in media and cultur

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Woods, Faye. "Telefantasy Tower Blocks: Space, Place and Social Realism Shake-ups in Misfits." Journal of British Cinema and Television 12, no. 2 (2015): 229–44. http://dx.doi.org/10.3366/jbctv.2015.0259.

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This article considers the ways in which British youth telefantasy Misfits (E4, 2009–13) takes up and makes strange urban spaces familiar from social-realist narratives. Filmed on the sprawling East London estate, Thamesmead, the programme chronicles a group of young offenders who are given powers by a freak storm, turning them into ‘ASBO superheroes’. Misfits depends on its British urban landscapes for the assertion of its ‘authenticity’ within British youth television, using spaces and landscapes familiar from urban youth exploitation cinema and television's narratives of the underclass. Aft

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